Music:
Member Since: 8/8/2007
Band Website: web.mac.com/craiglauritsen
Band Members:
Influences: All the master cymbalsmiths from the numerous cymbal companies. I've owned hundreds of cymbals from virtually all the manufacturers and have learnt a great deal from studying the production, hammering, lathing, bronze compositions and sounds of these cymbals. Some great independant Master Cymbalsmiths to check out are - Roberto Spizzichino, Mike Skiba, Johan Van De Sijpe, Steve Hubback. MORE CYMBAL SOUNDS OF MINE - FOLLOW THESE LINKS- Istanbul Agop SE 22 - http://www.mediafire.com/?bukn2nbmj3t ; Jazzmaster 18 Crash/Ride - http://www.mediafire.com/?3gn1nevtmx3 ; Istanbul Traditional 19 Ride - http://www.mediafire.com/?8tknz1oozys ; Zildjian Medium 20 Ride - http://www.mediafire.com/?63yma01nxzz ; Natural top /lathed bottom 19 - http://www.mediafire.com/?c4oxdvpojml; The Desert Ride - http://www.mediafire.com/?6mt0zjzo2wn
Jazzmaster 21†Mk.2 - http://www.mediafire.com/?7ye226izzbq
Sounds Like: THE ART OF CYMBALSMITHING -There is precious little information about hammering and lathing techniques for circular idiophones ( cymbals ), it’s almost as if it’s a secret guild of guarded information. Certainly the alchemy side is a closely kept secret from manufacturer to manufacturer. Finding useful information is difficult and limited. The best info I’ve come across on the net is from the American master cymbalsmith Mike Skiba on a website called Cymbalholics. Here’s a link to the best info: http://www.cymbalholic.com/articles/ . I have spent hundreds of hours sourcing info, but the majority of my knowledge has come from taking the plunge and swinging a ball pein hammer atop a cymbal on an anvil. The afore mentioned articles by Mr. Skiba cover the acquisition and shaping of anvils and hammers. There are also basic cymbal shaping techniques and some very useful general info about cymbals. I strongly encourage anyone who is seriously interested in cymbalsmithing to source as much info as possible. The book ‘ The Cymbal Book’ by Hugo Pinksterboer has some useful info and lists many additional sources worth checking out. The following ‘Findings’ are bullet points from my own experience and research.
- Higher Cymbal profile = more definition, shorter decay, less overtones, higher pitch, drier, more mid to high ‘kah’ sound.
- Greater Taper = faster response, shorter sustain.
- Large Bell Diameter = more volume, higher pitch, faster ‘speaking’, more overtones.
- Lighter the Cymbal = lower pitch, more overtones and wash, lower volume and projection, faster ‘speaking’, less definition.
- Lathing = decreased overtones, faster ‘speaking’ – Wider Bands create a darker more complex sound with less attack.
- Buffed/ Brilliant finishes = accentuated mid - med. high frequency response due to reduced frequency spectrum, less complexity, more mellow.
- More Hammered Tension in a Cymbal = higher frequency, more wash/sustain, less definition, less ‘buttery’ feel.
- Cymbal tension is loosened when hammered from the bottom.
- Cymbal tension is tightened when hammered from the top.
- High frequencies emanate from the bell, low frequencies emanate from the edge.
- Cluster hammering ( particularly 5 – 7.5 cms from edge ) increase ‘trash’ response.
- More Hand Hammering = darker, more complex/ trashy, shorter decay, lower pitch, less projection.TIPS FOR HAMMERING - Hammering is done 'cold' and each impact essentially compresses and hardens the bronze. - Applying heat to B20 bronze can alter the cymbals temper and result in cracking. - Never hammer too much in one area or the bronze will be permanently stretched or thinned out. - Always have good contact between the cymbal and the anvil. A light tap before the impact stroke will reveal the amount of contact. - Hammer for no more than an hour before letting the cymbal 'rest' for a few days. - Mark the cymbal with chalk or a sharpie as a guide for where to hammer. - Remember that hammering stretches the metal away from the hammer stroke, so if you're increasing the profile, hammer more from the bottom using hammer strokes on top of the cymbal to help it hold it's shape. I find fairly dense 'line' hammering in a 360 degree circle of the same radius best for increasing the profile. - Regularly re-sand ( to a shiny finish ) your anvils and hammers. - The hammering process is all about distributing tension ( as each hammer blow stores tension with or against the shape/profile ) throughout the cymbal to achieve the desired sound. It is possible to have good shape and poorly distributed tension and vice versa. More tension = higher pitch, quicker response and more sustain. - Tension can be increased or decreased ( preferably consistently at the same radius ) in different regions within the cymbal. - Areas of greatest shape change need greater tension to 'store' that shape. - 'Trashiness' can be increased by hammering 'pockets' of different tension. LINKS: Some Spizzichino footage on youtube; http://www.youtube.com/watch?v=9-zoAJWpHZA - Ufip factory tour; http://www.youtube.com/watch?v=S33wffNGBTk - Bosphorus factory, notice the 'flipping' at 3.41 and 4.39; http://www.youtube.com/watch?v=4BJywrkz3UM - Roberto Spizzichino'e website; www.spizzichinocymbals.com - Johan VDS website; http://johancymbals.fr.nf/
Record Label: unsigned
Type of Label: Indie
